


a tight dress (is what makes you a whore)

by sirenofodysseus



Category: The Mentalist
Genre: F/F, F/M, Infidelity, Lorelei's Falling in Love, Red John's a dick, Sex, Sleeping around
Language: English
Status: Completed
Published: 2019-12-28
Updated: 2019-12-28
Packaged: 2021-02-26 02:15:35
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,343
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/21995866
Author URL: https://archiveofourown.org/users/sirenofodysseus/pseuds/sirenofodysseus
Summary: 'By the time she sleeps with Patrick Jane in an extended stay motel, Lorelei Martins has already slept with the other four members of the Serious Crimes Unit too. All under various aliases and appearances, she gives each of them what they truly desire whilst she gathers intel on Patrick for Red John.'
Relationships: Grace Van Pelt/Wayne Rigsby, Lorelei Martins/Grace Van Pelt, Lorelei Martins/Kimball Cho, Lorelei Martins/Teresa Lisbon, Lorelei Martins/Wayne Rigsby, Patrick Jane/Lorelei Martins (implied), Red John/Lorelei Martins, Sarah Harrigan/Wayne Rigsby, Teresa Lisbon/Patrick Jane
Comments: 1
Kudos: 19





	a tight dress (is what makes you a whore)

**Author's Note:**

> Title taken from Billie Eilish's idontwannabeyouanymore.

By the time she sleeps with Patrick Jane in an extended stay motel, Lorelei Martins has already slept with the other four members of the Serious Crimes Unit too. All under various aliases and appearances, she gives each of them what they truly desire whilst she gathers intel on Patrick for Red John.

It’s not difficult to weave herself into the tapestry of their lives; all of them after Craig O’Laughlin’s murder and Patrick’s arrest are vulnerable and much like a moth is drawn to a flame, she lures them in with the promise of temporary sanctuary.

She doesn’t have to say much to get Grace Van Pelt into her bed. After she kills her fiancé in cold blood, the redhead is justifiably lost and angry at the betrayal and Lorelei—in her tight, thigh-revealing red dress and kitten heels—swoops in to help the CBI agent feel a little less lost. They sleep together a handful of times before Grace shoves her a wad of cash and says, “I can’t do this anymore.”

_I’m no whore_ , she writes to Red John, while the money from Grace burns a hole in her pocket. Lorelei knows he won’t appreciate her sidebar, however, so she erases the email and starts anew with her intel on Timothy Carter. He responds, days later, with _keep up the good work_ and she moves forward to ensnare the next Serious Crimes Unit agent.

Kimball Cho is the next agent she tangles herself with. Although quiet, he’s a passionate man beneath the covers of his bed. He gives her one of the best orgasms she’s ever had, but he’s not a conversationalist. When she asks him about his work, he tells her he works at the CBI in homicide and that’s nothing new to her. Lorelei hopes he’ll open further. Not everyone is like Red John or Grace Van Pelt, after all, whose life story is the first thing you hear before you fuck them. Some people, Lorelei knows, are far more complicated than that.

Lorelei’s in his bed almost every other night, calling out to a God she doesn’t quite believe in until he also sends her off with a fistful of money and no reason aside from a curt, “it’s over”.

In her email to Red John, she apologizes for the wasted time and that she’ll do better next time.

He doesn’t reply.

She uses the money from both Grace and Kimball to purchase a new dress that she’ll ultimately seduce someone else with.

(She doesn’t say anything when the salesclerk gives her a lingering stare at the revealing piece of clothing she’s purchasing. _Let them think the worst_ , she thinks as her stomach drops because again she’s not a whore.)

After Kimball, she doesn’t sleep with anyone else from the unit for a few months and Red John continues to be displeased. Lorelei tries to make it up to him by going down on her knees and fucking him hard with her mouth, but the way he shoves her away after five minutes tells her she won’t easily be forgiven until she has something for him.

So, she leaves and plots to get Wayne Rigsby in bed, which ends up being easy after the birth of his son and the copious amounts of alcohol that she buys him at the bar closest to the CBI where he begins to spend time.

Out of everyone she’s ever had sex with, he’s the gentlest as his clumsy fingers work to free her from the skintight dress she wears. By the time he comes inside her, though, he becomes increasingly less gentle as his hands grip her breasts until she’s almost positive they’ll be bruised come morning. Lorelei doesn’t complain. She’s so used to being seen as an object to be manhandled that his jarring thrusts and drunk wanton words against her tender breasts do nothing to her. Her life, she knows, has never really been hers to control after all.

In-between his thrusts and guttural moans, she learns the name of his son and then, she learns the name of the woman he certainly doesn’t love. It’s not important information, but it’s certainly more information than Kimball ever gave her. Red John, she knows, will still not be pleased—but something is always better than nothing.

The last time they sleep together, they don’t bother going to the sleazy motel down the street. Wayne decides to debase her inside his car; leaning over the console, Lorelei fucks him with her mouth until he’s ready to burst and when he eventually comes, he doesn’t call out her name.

No, he calls out Grace’s instead.

It’s then and there that Wayne finally grows a conscience. He tells her, after pulling away from her, that this is _wrong_. He can’t do this whilst he’s got a girlfriend and a child at home, waiting for him. He doesn’t apologize, but she can tell he’s judging the _hell_ out of her.

“You’re better than this,” Wayne tells her, as he hastily gets dressed. Lorelei tries to keep from rolling her eyes because it’s a speech she’s heard a million times from others about Red John. She hears him unlocking the car door and she reaches for the handle when his gentle voice stops her. “Go out and find yourself an honest career or something, alright? Not this. You deserve better.”

Before he leaves her, he hands her a wad of cash and gives her a look of unmistakable pity. It’s one thing to be told to _go out and find an honest career_ , but pity is a different beast altogether; pity means he feels sorry for her and she doesn’t need his sympathy. She just needs information on Patrick, so she can return to Red John.

So, she can go on with her life and pretend that she’s not done deplorable things for all the wrong reasons.

_You quiet these negative thoughts_ , she writes to Red John after, _I’m trying my hardest to make you happy. What more can I do?_

His response is simple: _get me my information and you can return home._

Lorelei wants so badly to return to him, to her home, but she knows she can’t return empty-handed as failure is not tolerated and she’s not yet completed her mission. With three members down, she proceeds to make a move on the fourth: Teresa Lisbon.

The woman isn’t easy to access, as all she does is work, work, and more work, but Lorelei still somehow manages. Earning stolen kisses and multiple orgasms behind closed office doors, what she does with Teresa makes her feel almost alive. For the first time, she feels as though she can breathe without Red John and the feeling is so bizarre. So liberating. So frightening.

For most of their time together, they don’t discuss anything personal. Lorelei drops everything to be at her side, to help her achieve orgasm-after-orgasm with some lube and fingers (or a tongue) and Teresa welcomes her like some old friend, instead of the whore she suddenly realizes Red John’s made her be. It’s why she listens wholeheartedly when Teresa confesses—without preamble—that Patrick left them for Vegas and took a piece of her heart with him.

Seeing Teresa so forlorn and broken over Patrick’s departure makes Lorelei realize, she’ll do anything to see the brunette smile again—even if it means, she’ll need to be a whore to hunt the sonofabitch down.

_Patrick’s in Vegas,_ Lorelei texts Red John as she’s lying in bed with Teresa. The other woman curled into herself, hogging up all the covers as usual. Exhaustion clings to the brunette and Lorelei doesn’t dare try to steal any of the covers for herself, as Teresa needs every ounce of sleep possible.

Her phone vibrates a moment later.

_I need you to go to Vegas_.

Lorelei’s heart sinks and so she turns, pressing her lips gently upon the brow of the woman she’s come to love.

Teresa shifts, but she doesn’t wake and so Lorelei leaves.


End file.
